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Gustavo Bravetti

Montevideo, Uruguay


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Behing the stage:


Since I was a child, being son of musicians and always surrounded by instruments, I was spending more time in music studios and being on radio, than at home with my toys. While my mother was recording vocals, I waited somewhere in the studio, trying to extract sounds from an analog synthesizer, to program a groove box, or playing that grand piano that had me so fascinated.


When I reach the age of 15, I mastered several types of synthesis and musical programming methods. Electronic music captivated me, and that was when I convinced my mom to give me the money to pay for two hours in a recording studio to create my first production, a remix of The Max – Cocaine.

Professional samplers were hard to come by in Uruguay, and since I did not have access to one, I did my first circuit bending experiments on a very small Casio keyboard. That was all I needed to add those low pitch and repetitive vocals I intended for my remix.

Recording finished, I left the studio very excited with my first production on a TDK Chrome tape. On the same night, I took the music to the best club in Montevideo, showed it to the DJ and, despite some doubts about the final result (capricious nonconformity and a bit psychotic; personal traits since way back), the crowd enjoyed it, and danced a lot! This was all very exciting and gave me further strength for all that would come after.


As a result of this, I met my first musical partner, with whom I formed the first live electronic band in the early 90’s in Uruguay. At the time, we had never heard of Ableton Live or computers, and our fee was nothing more than a bottle of vodka and some special treatment, but for me (16 years old!), it was all that I needed!

In the early 90s, to produce electronic music, you needed a lot of very expensive hardware and hence, for some time I was forced to share copyrights in exchange of hardware. It was not easy. I worked on many jobs producing various styles of music, despite the fact that they far from aligned with my personal tastes. But with time and perseverance, I set up my studio, improved my techniques and expanded my knowledge until I had everything I needed to express myself with the music the way I want.


I consider myself a spiritual person, but at the same time a scientific one. I see music as a transformation of mathematics into a diverse range of emotions. A primitive language that skips the conscious translators, producing a profound and wonderful effect in humans. Translating feelings into logic, then into music, is an art that takes time to develop, but it is worth every minute spent, when at the end, you are satisfied with the message obtained. To feel the crowds response to your message is even more satisfying.

Regarding personal and self-criticism, although sometimes I’m too much of a perfectionist, I no longer feel that capricious nonconformity that I used to feel earlier in my life. Today, I am very pleased with the results I obtain. Being a lover of the study and research in the fields of mathematics, physics and programming, I take advantage of all this to produce messages with more personal content and that is faithful to my principles. I am always seeking the midpoint between the logical/technical and spiritual/artistic, and never forgetting that the important part is not the message, but the conversation itself.